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Become a Better Partner: Tips for Women
From their first moments in the studio, female ballet dancers are taught to hold themselves upright and control each movement of their body with intense precision. Yet in partnering, these rules of independent practice are challenged. Sasha Janes, Indiana University's Jacobs School of Music faculty member and partnering coach, offers some tips for how female dancers can navigate this change in approach.
(For tips for male ballet dancers, click here.)
Boston Ballet's Lia Cirio and Lasha Khozashvili, photo by Rosalie O'Connor
There are times when you must turn all your body weight over to your partner and allow their performance to determine your performance. Just as in solo work, there are steps that cannot be executed without complete tenacious commitment. Be prepared to fall into or away from your partner with full energy. Trust is built through rehearsal and an achievable shared goal. If a step in partnering is done with half confidence, your partner will not be able to feel your intention and there is little hope for success.
Houston Ballet's Connor Walsh and Karina Gonzalez, photo by Kate Longley
You have trained for years how to successfully move your body through space, so you understand the mechanics of the ballet body. Know where your partner's weight needs to be for a given step or transition, and be prepared to allow him to move into that space—a good partnership should make life easier, not harder.
American Ballet Theatre's Hee Seo and Marcelo Gomes, photo by Kyle Froman
Speak to each other often. Oftentimes women fear that if we speak up or admit to being uncomfortable, we will be perceived as a "bad partner." The exact opposite is true. If a step isn't working, never be afraid to talk about it. If you let an issue go, it festers and can affect the chemistry and confidence of the partnership onstage.
San Francisco Ballet's Maria Kochetkova and Joan Boada, photo by Erik Tomasson
Upper body and back strength is imperative. The time of the waifish ballerina is over. Women must have the ability to lift and be a counterweight. The stronger you are, the more versatile your movement and the pictures you can create with your partner become.
Match His Energy
Jock Soto teaching at SAB. Photo by Rosalie O'Connor
For every push, there should be an equal and opposite push. Perhaps your inclination when you feel a hand pushing you is to allow your body to follow that partner's direction. However, there are very clear times when a step in partnering requires the female dancer to give equal resistance to her male counterpart. Hands touching are a unique mechanism sending for messages about balance between bodies. Whether you are executing a classical ballet penché with one arm or an off-balance arabesque in a pas by Jiri Kylian, you must feel and match your partner's energy to find stability.
You can't make the next step happen alone; it has to be a joint effort. Partnering is a conversation; always wait to see what your partner "says" to you, then respond with your natural movement. No matter how much you want to control things, wait for your partner. If the woman's body weight transfers before the man has begun his motion to partner, the fluidity is disturbed and the natural rhythm of the step is lost. There is also inevitably a visually jarring bobble that takes the audience out of the piece. No one wants that.
Be Honest About Body Placement
The Joffrey's Jeraldine Mendoza and Dylan Gutierrez, photo by Cheryl Mann
Sometimes, in rehearsal, you have to fall—give yourself over to the failure. Nothing is gained by faking a success in the early stages of a pas rehearsal period. This is especially true for women. If you are not on your leg, don't hold yourself. Your partner will learn faster if you are honest in your execution. In a pirouette, go for it and turn in an honest, dependable position—an accidental knee hit will only happen once, so apologize and move forward.
School of Richmond Ballet
No matter what, you must address each other with the utmost respect. Whether you just met your partner, live with him or have been friends with him for years, never let your relationship outside the studio affect the way your work together professionally. You will never achieve success if you are just finding fault in each other, and choreographers will not want to work with you if outside baggage is junking up the studio space. Both of you are performing onstage—not one or the other. Be there for each other.
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
Several weeks ago, Youth America Grand Prix announced that the lineup for tonight's Stars of Today Meet the Stars of Tomorrow gala at Lincoln Center's Koch Theater would include Bolshoi Ballet principal Olga Smirnova and first soloist Jacopo Tissi. But an article in Page Six published last night states that Smirnova and Tissi were denied visas to enter the US.
YAGP organizers "believe the Department of Homeland Security's decision may be motivated by the myriad tensions between the superpowers," says the piece, noting that "Smirnova is so revered in Moscow that her treatment could create a Russian backlash."
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.